ALP 242 PETER BRÖTZMANN: The Inexplicable Flyswatter – Works On Paper 1959-1964
Beautiful premium price full colour catalogue to accompany the exhibition of Brötzmann’s work at the School Of The Art Institute Of Chicago. Includes full analysis and profile of Brötzmann by John Corbett and includes a CD of otherwise unavailable recordings of the Brötzmann Quartet in 1965 plus his Trio and Fluxus performances from 1963/1964 (CDep + book/catalogue)

CT CD 8607 06 DETAIL w. JOHN STEVENS / BOBBY BRADFORD / JOHNNY DYANI / FRODE GJERSTAD: In Time Was
Detail was a very special group: one of those rare combinations of improvisors that manage to work together over an extended period of time and to create a remarkably consistent body of work capable of combining both warmth and a sense of mutual fresh adventure. Their poise, artistry and invention are all given plenty of space in this exemplary recording. Bobby Bradford (cornet)/Johnny Dyani (bass)/Frode Gjerstad (tenor sax)/John Stevens (drums).
(no bar code)

CB0034 CHRISTOPHER ROBERTS: Last Cicada Singing
Four serene yet deeply emotive pieces for solo qin (a Chinese zither-like instrument). Quiet, sparce, slightly eerie, almost Feldmanesque. Performed by the composer, who mastered the qin while living and teaching for many years in Taiwan. Christopher Roberts has a previous release on the Cold Blue label, Trios for Deep Voices (double bass trios).
"So Confucius walks into a bar, just in time for Bill Evans's last set, and after closing time pulls out his qin for a few solos … That’s the vibe that Christopher Roberts captures in these intimate nocturnal musings where crystalline harmonics dance among gutsy bass slides while elegant harmonies whisper their most private thoughts. A truly haunting recording." —John Schneider, Host of KPFK's "Global Village" and Director of MicroFest
"Christopher Roberts's music is exotic compared to nearly any music you are likely to think of." —Malcolm Tattersall, Music & Vision
"Roberts bends his instrument in new directions entirely, turning it westwards even as he faces east." —Ken Smith, Gramophone
"Roberts here plays the qin, the venerable Chinese zither-like instrument. It’s of course not like traditional qin music because Roberts suggest such disparate elements as Delta Blues and Ralph Towner, achieving an end product that’s neither East nor West but a synthesis that does honor to both frames of mind. Like classical Chinese solo instrumental playing (or Ralph Towner, for that matter) Roberts makes silence work for him. Nothing is forced; all sounds as if it has existed for a very long time as part of a previously unimagined tradition. The tension between experimentation and conservatism is irrelevant here. All of this makes this album very much one to recommend." —Richard Grooms, The Improvisor
(bar code: 8 00413 00342 7)

CB0033 CHRISTOPHER HOBBS: Sudoku 82
This spare, beautiful, spacious 20 minutes for eight pianos was composed utilizing systems derived from sudoku puzzles and the GarageBand computer program.
Hobbs is an English experimental composer, a pioneer of British systems music., founder of the Experimental Music Catalogue, and an early member of both the Scratch Orchestra and AMM. A combination of strict rigor and audience-friendly surfaces is typical of most of his work since 1970, as is his use of cheap (toy or amateur) electronics. His music has been recorded on the Obscure Records/Editions EG, Experimental Music Catalogue, Sonic Arts Network, Advance, Matchless, and Black Box labels.
"The ever-stylish Christopher Hobbs is a master of subtle surprise. This haunting music is both strange and familiar, and balm to an alert ear and keen intelligence." —Howard Skempton
"It's clever stuff ... Hobbs disposes his sounds with charateristic grace." —Brian Morton, The Wire
"Through its quiet intensity—not unlike the music of Morton Feldman—the piece changes one's entire perception of time. My watch said 20 minutes but it could have been anywhere from a moment to an hour." —Ken Smith, Gramophone
"Buy this and love it for it is very special music. It lives long in the brain after the disk has stopped playing." —Bob Briggs, MusicWeb Int'l
(bar code: 8 00413 00332 8)

CB0032 JOHN LUTHER ADAMS: the place we began
Mysteriously evocative electro-acoustic works that the composer built from short recorded moments—audio fragments—of his early music. This is not a trip down Memory Lane: In the place we began, Adams has reappropriated and transformed these sonic fragments into completely new works that speak to his current musical interests and directions, especially his recent installation pieces.
"Adams's major works have the appearance of being beyond style; they transcend the squabbles of contemporary classical music." —Alex Ross, The New Yorker
"His music is haunting and quite unforgettable. … Lou Harrison called Adams 'one of the few important young American composers,' and he might just be right." —MusicWeb Int'l
"Out of many eligible composers of his generation, John Luther Adams is the greatest proponent of the American experimental tradition, a lineage that includes Ives, Cowell, Varese, Partch, Nancarrow, Cage and Tenney." —Sequenza 21/Contemporary Classical Music Weekly
"…shimmering, vast, luminous, ecstatic…" – Kyle Gann
(bar code: 8 00413 00322 9)

CB0031 PETER GARLAND: String Quartets [1&2]
Two spirited and enticing quartets that draw on the composer's well-traveled ear and great sense of personal vision. Both works move with a unique sense of grace and a sincerity of expression that is purely Garlandesque. Performed by the celebrated British ensemble Apartment House, led by new-music cellist Anton Lukoszevieze.
"Peter's quartet [No. 1] is the most beautiful thing since Corelli." —Lou Harrison
"[Garland] is an avatar of an experimental American tradition ... a composer of mesmerizing music; and in many ways, the musical conscience of my generation…. Garland's work always brings increasing cognitive involvement; it is much more intricate than it sounds at first." —Kyle Gann, Chamber Music magazine
'I feel he [Garland] is one of our true originals." —Robert Carl, Fanfare
(bar code: 8 00413 00312 0)

CB0030 CHRISTOPHER ROBERTS: Trios for Deep Voices
Five intimate movements/pieces for a trio of double basses performed by the composer and two other virtuosos of the instrument, Mark Morton and James Bergman. This music, much of it inspired by the composer's life in Papua New Guinea, where he studied and lived music's "natural prosody," subtly extends the double bass's standard playing techniques with such expressive elements as bowing patterns inspired by the sound of hornbills in flight.
"A magnificent piece! There's nothing like it. Roberts has a truly unique voice." —Bertram Turetzky
“Roberts has arrived at a new American music by traversing the heart of Papua New Guinea ... and the result is something unique.” —Michael J. Schumacher
(Bar code: 8 0041 30030 2 1)

CB0029 CHAS SMITH: Nakadai Nakadai, which KPFA Folio/Other Minds Radio called "one of the most explosive LPs of the '80s," is a set of works that offer a catalog of musical "waves"—from ripples to tsunamis. It features Smith playing pedal steel guitar—solo, overdubbed, and with a mallet percussion quartet of Bob Fernandez, John Fitzgerald, M.B. Gordy, and Theresa Knight. This first CD reissue of Nakadai is music composed when Smith's present style was in its nascent state. In addition to the original five Nakadai tracks, this CD includes two "bonus" tracks: 2008's evocative Ghosts on the Windows and 1991's Joaquin Murphey, a tribute to the pedal steel elgend of the same name.
"Chas Smith . . . musician, composer, engineer, metal craftsman and inventor is a classic American original." —New Times (Los Angeles) "With Smith's music, the sounds are as compelling as his concepts and instruments." —The Wire
"Chas Smith's pedal steel and 12 string dobro are as evocative and quintessentially American as a crackling neon light outside a desert motel at sunset." —Dan Warburton, Paris Transatlantic
“‘A solitary genius,’ as Susan Alcorn describes him, Chas follows no particular school of composition but his own.” —Paris Transatlantic
(Bar code: 8 0041 30025 2 5)

CB0028 DANIEL LENTZ: Point Conception
This CD combines Lentz's wild nine-piano tribute to the octave, Point Conception, with Lentz's previously unrecorded NightBreaker, a kaleidoscopic and explosive tour de force for four pianos. An exciting roller-coaster of a work, NightBreaker ambles, jumps, careens, pauses, and flings itself forward. Point Conception amasses and bubbles over with incessant streams of octaves (harmonic and melodic) running the length of the keyboard. Both pieces revel in and comment on the late-19th-century harmonic language. Perfomed by long-time Lentz Ensemble pianist Arlene Dunlap noted Los Angeles pianist Bryon Pezzone.
"Lentz has devised a unique bit of piano literature. It simultaneously glorifies the acoustical grandeur of the grand piano and regales its legacy with technology and sly insouciance. Point Conception is Lentz's backhanded answer to the cool purr of ambient piano music. Such is the typical Lentz reply; tossing knuckleballs into extant musical traditions, but doing so with disarming grace." —Los Angeles Reader"Point Conception ... a rollicking process piece." —Kyle Gann, The Village Voice
(Bar code: 8 0041 30028 2 6)

Discus 31CD Randomworld 1 [This is a CDR not a CD release]
Martin Archer - laptop, harmonium, zither, chimes, bass clarinet; Chris Bywater - electric violin, processing; Neil Carver - electric guitar, processing; Chris Meloche - environmental recordings, processing; UTT - turntables, vinyl tracing, processing. Randomworld is a series of compositions initiated in 2007 and based on an idea by Martin Archer and Neil Carver. The work is issued in a limited edition of 150 CDRs, cut to order, named and numbered for each purchaser. Although each Randomworld piece occupies an identifiable sound world (e.g. Randomworld 1 always sounds like and is identifiable as that piece), on each CDR various software algorhythms within the composition shuffle the individual musicians' Contributions and introduce elements of unpredictable sound processing. The result is that no two CDRs are alike, and each copy sold is a unique version of the piece - and that's not just slightly or cosmetically different, each new version will be structurally very different from any other. The finished CDR is packaged in a hand painted sleeve, again no two alike. (2007) "Convinces as a compelling piece of electroacoustic music....its location of conventional acoustic instruments within a self-arranging digital framework produceing moments of creeping insectoid menace that recede to intervals of pastoral reverie....recognising the capacity of the machine to create and direct, and the importance of the human element when it comes to spontaneous composition" - THE WIRE

DISCUS 28CD Beck-Drenching-Pleasure: A low carbonation
Mick Beck - tenor saxophone, bassoon, voice & calls; T H F Drenching - dictaphones; Sonic Pleasure - bricks, flute
From what seems at first to be the most minimal and restricted of sonic pallettes, the trio creates a detailed activity field with all the articulation and dynamic you might expect from a more conventional lineup. (2006) "After a couple of plays I found I was liking it a lot." - THE WIRE

ICdisc 0401 I COMPANI: Fellini
Nino Rota’s music from Fellini’s movies peppered with a handful of like-minded original compositions and arranged for a sympathetically visionary Dutch powerhouse of a contemporary band
(Bar code: 8 710109 60401 7)

ICP – INSTANT COMPOSERS POOL

ICP 044 DVD MISHA MENGELBERG w.HAN BENNINK/ANTHONY BRAXTON/DAVE DOUGLAS/ICP ORCHESTRA a.o. : Afijn
Documentary DVD on composer, bandleader and improvisor Mengelberg; music fragments and statements give a clear insight into Mengelberg’s original way of thinking and working. Old film material shows how Mengelberg developed from classic composing through jazz influences to become the godfather of Dutch improvised music. Includes duets with Eeko (his parrot), Han Bennink, and Dave Douglas plus the ICP Orchestra and Anthony Braxton (alternative catalogue number DATA Images03)
(Bar code: 8 713897 901429)

CDLA 01033 TERRY RILEY: In C
Recorded in Moscow a few days after Riley’s historic solo concert, with the composer leading an ensemble of Russian musicans who give a unique and powerfully original performance of the work perf: Terry Riley & Ensemble
(Bar code: 5 020492 30082 7)

MRCD 40 EDDIE PRÉVOST w. MUSIC NOW ENSEMBLE 1969 feat. CORNELIUS CARDEW/LOU GARE/KEITH ROWE/HOWARD SKEMPTON/CHRISTOPHER HOBBS/TIM SOUSTER a.o.: Silver Pyramid
Recorded at the historic performance given as part of the Music Now Festival at the Roundhouse, London on 4th May 1969.
(Bar code: 7 86497 44412 0)

MCOULD-1 MIGHT COULD: All Intertwined
Intelligent guitar interplay from three-guitar + bass line-up First, very good release by a three acoustic guitar ensemble who are reminsicent in many ways of the California Guitar Trio, but with their own sound, joined on some tracks by an electric bass, which fattens up the sound as well. Might Could : “We are an instrumental acoustic guitar group based out of College Park, MD. Our goal is to create and perform songs with rhythmically interesting, tight, and neatly interlocking parts. We attempt to compose carefully orchestrated pieces of music rather than solo driven instrumentals. People have told us our songs seem to draw from influences ranging from heavy metal to progressive rock to jazz, and we've been compared to King Crimson, the California Guitar Trio, Steve Morse, Michael Hedges, Megadeth, and Bla Bartk. The lineup consists of Andy Tillotson, Tim McCaskey, and Aaron Geller on guitar, with Luis Nasser on bass..." (Bar code: 8 37101 07876 4))

Thomas Chapin (alto sax, saxello)/Borah Bergman (piano).
A powerhouse saxophonist working with one of the most striking and unconventional pianists to make his mark at the leading edge of jazz – the results spark with excitement.
(Bar code: 7 5126 71009 2 6)

NA 008 Somei Satoh: Litania
Selected as one of the best recordings of 1988 by The New York Times It is indeed ironic that Litania, which appears early in Satoh's oeuvre, emerges as one of his most strikingly original and radical works. Litania is the first in a series of compositions for piano, all of which explore the reverberative qualities of the instrument thorough a single facet of pianism, namely tremolotechnique.The ensuing drones are subjected to a subtle time lag through a digital delay process. This creates a sonic interference resulting in an extremely rich harmonic texture, which is further intensified by the overlaying of second or third piano – Margaret Leng Tan. perf: Margaret Leng Tan (piano)/Lise Messier (soprano)/Frank Almond (violin)/Michael Pugliese (percussion). (Bar code: 0 22551 00082 7)

NA 070 John Cage: Daughters of the Lonesome Isle
the eight works on this album feature the different kinds of "instruments" used by John Cage in his substantial piano oeuvre – the prepared, string, bowed and conventional piano as well as the toy piano. The disc's thirteen year span (1940-1953) encapsulates the evolution of Cage's aesthetic from Bacchanale, his first prepared piano composition, to the chance-derived abstraction of Music for Piano #2. These bookends of the album also frame my relationship with John Cage: Bacchanale was thefirst piece I played for him in 1981 and we discussed Music for Piano #2 the day before his fatal stroke in 1992. – Margaret Leng Tan. perf: Margaret Leng Tan (pianos) "... the most convincing interpreter of Cage's keyboard music." – The New York Times (Bar code: 0 22551 00702 4)

NA 073 YVAR MIKHASHOFF: Incitation to Desire – Tangos For Yvar Mikhashoff 1945-1993
Tangos, tangos, tangos, abstract intellectual tangos, heart on the sleeve romances, passionate pillow talk tangos, solitude cafecold coffee tangos by Michael Sahl / John Cage / Dane Rudhyar / William Duckworth / William Schimel / Lukas Foss / Scott Pender / Richard Rodney Bennett / Chester Biscardi / Ivana Ludova / Colin Bright / Laszlo Sa'ry / Conlon Nancarrow / Jackson Hill / Raschke / Aaron Copland / David Jaggard / Robert Berkman. "The movements of the dance are less presentable to a polite audience than those of the habanera, and as now performed in thecafes chantants of Madrid and other cities of Spain, the Tango has become nothing but an Incitation to Desire." —Tango, Grove's Dictionary of Music, 1944. Yvar Mikhashoff was an internationally known virtuoso pianist, bon vivant and ballroom dancer who died of AIDS a few years ago. One of his obsessive passions in life was to commission tangos from living composers of all ilk. This collection is drawn from sessions we recorded near the end of his life, when his sight was failing but his playing was still brilliant. "Mikhashoff's tango collection tells us much abut this seductive dance, but just as much about the personalities confronting it." —The New York Times (Bar code: 0 22551 00732 1)

NA 081 Carson Kievman: Symphony No. 2(42)
"Kievman uses a modernist's compositional tools, but he's a late-Romantic at heart .. challenges adventurous listeners without alienating those more traditional tastes." – Miami New Times. Symphony No. 2(42) was commissioned by the Florida Philharmonic Orchestra in 1991 to commemorate the 200th anniversaryof Mozart's death. The music conveys a sense of Mozart as visionary artist, striving to pursue creative freedom despite the ultimate costs to his career and health. The final movement incorporates the "Lacrymosa" from Mozart's unfinished Requiem: the last bars of music that he wrote from his deathbed at age 35. For Kievman, this tragic ending becomes a frame of reference for the creative life, with the symphony's four-part structure depicting a metaphorical journey from youth through death, and beyond. From the midst of modernist techniques, Mozart's 18th-century theme arrives with an aura of otherworldly clarity and purity."... heavily layered music echoes Ligeti and Varese." – Denver Post perf: Polish Radio National Symphony Orchestra - Katowice w. Polish Radio Choir of Krakow cond. David Gier (Bar code: 0 22551 00812 0)

NA 120 JOAN JEANRENAUD: Metamorphosis
former cellist with the Kronos Quartet with a collection of cello works (many of which were composed specifically for her) – STEVEN MACKEY: Cairn/HAMZA EL DIN: Escalay/JOAN JEANRENAUD: Altar Piece/KAREN TANAKA: The Song Of Songs/PHILIP GLASS: Metamorphosis Four/MARK GREY: Blood Red In 1999, after twenty years as cellist of the Kronos Quartet, I chose to leave the group and began a metamorphosis of sorts in my musical development as a solo artist. During residencies in Hawaii and San Francisco, I was able to freely explore the directions my interests were leading me at this pivotal point in my career. During this time I continued working with composers. I began to improvise, arrange and compose music myself, as well as research, produce and present muti-media andperformance arts. I became interested in not only the visual and conceptual presentation of music but also the sound world myinstrument could inhabit. Increasingly I became fascinated with the layering of sound and the versatility of the cello in this exploration. 'Metamorphosis' ismuch of the music that resulted from this phase, being the soundtrack to the staged musical theatrical production of the same name. —Joan Jeanrenaud perf: Joan Jeanrenaud (cello and electronics)
(Bar code: 0 22551 01202 8)

NA 124 Orlando Jacinto García: Fragmentos del Pasado
This collection of new classical Latin American work by the Cuban-born, Miami-based composer is a series of pieces that invoke an abstract expressionists ensibility set against a time free present.Through some one hundred works composed for a wide range of performance genres, Orlando Jacinto García has established himself as an important voice in the new music world. The distinctive character of his music has been described as "time suspended – haunting sonic explorations" with "a certain tightness and rigor infrequently found in music of this type" – qualities he developed from his studies with Morton Feldman among others perf: Robert Black, Daniel Kientzy, Jaime Marquez, Reina Portuondo, Simón Bolívar, Cuarteto Latinamericano, Orquesta Sinfonica, cond.Alfredo Rugeles (Bar code: 0 22551 01242 4)

NA 127 STEPHEN VITIELLO & DAVID TRONZO w. MICHAEL J. SCHUMACHER: Scratchy Monsters and Laughing Ghosts
”This is a record that I've wished to make for a long time. It seemed lesslikely as my own interests have moved away from guitar and more towards field recordings and site-specific sound installations. Meanwhile, David Tronzo has stayed as true to the electric guitar and slide as ever. That said, he is a guitar player who sounds like no other and I am more than honored bythe collaboration. These tracks were assembled through dual improvisations, followed by files, loops and mixes mailed back and forth. Somewhere in themiddle, we invited Michael J. Schumacher to come in and add piano tracks. Michael's improvised tracks now feel as crucial as any of the other elements. Asmuch as this may be an experiment, we hope it is one that you will enjoy as much as we enjoyed making it. —Stephen Vitiello
(Bar code: 0 22551 01272 1)

NA 128 EVAN ZIPORYN: Typical Music
"Pondok" (2001): Each movement is based on a particular aspect of Balinese music, taken in its own direction to the point of no resemblance. ... "Piano Trio - Typical Music" (2000) was written for the Arden Trio. ... "Ngaben (for Sari Club)" (2003) is for full Balinese gamelan and western orchestra and was written in response to the Bali terrorist bombing of October 12, 2002. ... The ngaben cremation is the last and most important life ritual in Balinese Hinduism. Like a traditional New Orleans funeral, it covers a wide range, not all mournful. —Evan Ziporyn
(Bar code: 0 22551 01282 0)

NA129 GIACINTO SCELSI: Incantations: The Art of Song of Giacinto Scelsi
"Genre descriptions such as 'liturgy' or 'evocations' betray the fact that Scelsi did not regard his songs just as an instrumentally motivated microscope in sound, but accords to them a real 'function'. Although he eschews 'comprehensible' words, he nevertheless—in his songs as in his instrumental music—wants to give linguistic expression to something. Peter Niklas Wilson is quite right when he describes Scelsi as an 'Expressionist', as a 'conversationalist' in sound, whose rhetoric begins with the very character of sound itself—these remarks being made specifically with regard to the Four Pieces for Orchestra (1959). The 'inner' sound that is so often and so extensively conjured up is not celebrated ominously, but relinquished. In her interpretations here, Marianne Schuppe is careful to express the 'direct speech' of Scelsi's music—and this succeeds clearly, for example, in the parlando passages of Taiagarù. The introspective, meditative side of Scelsi's music is clearly overestimated. It is this thoroughly hedonistic speech-character, which defies popular desubjectivization rituals, that finds a real 'voice' in Scelsi's music." —Michael Kunkel
(Bar code: 0 22551 01292 9)

NA 130 INGRAM MARSHALL: Savage Altars/Authentic Presence/Five Easy Pieces/Soe-pa
"Authentic Presence" addresses a continuous state of spiritual mindfulness and was unconsciously inspired by the civil rights anthem, "We Shall Overcome"."Five Easy Pieces" are a kind of homage to Stravinsky and were made for no other reason than for having fun. "Soe-pa," the Tibetan word for patience, is for solo guitar with digital delays and loops. It is a more formal exercise in composition that involves the interplaybetween live and electronic media. "Savage Altars," from a concert performance by the Tudor Choir, derives its title from the Roman historian Tacitus' Annals Book I, which chronicles the Roman campaigns against the German tribes. They suffered a devastating defeat by the Cheruscan soldiers in the Teutobugian forest. Six years later, the remains, bleached out bones, splintered spears and debris, of three Roman Legions, were found, the whole of which was named "barbarae arae"—savage altars. Elements of the hymn Magnificat, and the canon "Sumer is i cumen in" are also interwoven in melodic and textual contributions. perf: the Tudor Choir/Sarah Cahill (piano)/Joseph Kubera (piano)/Benjamin Verdery (guitar)
(Bar code: 0 22551 01302 5)

PLE 1101-2 DEREK BAILEY & THE RUINS: Tohjinbo
Improvisation doyen and one of the most innovative guitarists to have emerged from the leading edge of the experimental music in one of his most challenging partnerships: with Japanese noise/avant rock group Ruins.
Derek Bailey (guitar)/Yoshida Tatsuya (drums, voice)/Sasaki Hisashi (bass)
(no bar code)

PLE 1108-2 JOE GALLIVAN & GARY SMITH: Gary Smith Joe Gallivan
The stereo guitar improvisor whose wide-ranging work has found voice in a wide variety of settings, from solo to work with the forefront of Japanese cosmic rock and this partnership with jazz drummer Gallivan, reknowned for his work with Gil Evans, Charles Austin, Elton Dean and Hugh Hopper amongst many others.
Joe Gallivan (electronic perc, moog synthesizer)/Gary Smith (electric stereo guitar)
(no bar code)

TUGCD 1042 DEBASHISH BHATTACHARYA: Special Edition 3–Calcutta Slide-Guitar
CD reissue of TUGCD 1036 with free DVD featuring a performance of the album filmed in Calcutta
with Bhattacharya playing classical Indian ragas on three generations of guitars featuring his own modifications – Chaturangui, Gandharvi and Anandi
(Bar code: 6 05633 00422 9)

SLAM CD 270 HOWARD RILEY: SHORT STORIES (Volume Two) 2-CD Set
Howard Riley’s collection of ‘Short Stories’ presents 30 short improvisations of between 2 and 6 minutes duration. The tracks are equally divided from recording sessions in 2004 and 2006. Riley has a history of short musical creations, apparently saying what he has to say and no more – but the collection as a whole develops a further dimension. Juxtaposing the two sessions also adds a slant on the pianist’s improvising thoughts over the two-year period. This CD was produced with the help and cooperation of Steve Plews, ASC Records.
(bar code: 5 028386 02702 7)

SLAM CD 271 D.A.T.A.: Now Processing
D.A.T.A. is Dave Hayley (drums and percussion), Alan Eason (guitar), Tris Harris (piano, synth, alto and soprano sax, bass), Andy McFarlane (violin). D.A.T.A. consists four young South London musicians who first met in 2005. Through a mutual interest in pushing improvised jazz further, they formed a collective that gave them their own unique voice. The band name D.A.T.A. derives from the first initial of each member. Starting with Dave Hayley, who has performed many different musical genres throughout his extensive music career, he specializes in drums and percussion. Next is Alan Eason, an extremely talented guitarist. Then there is Tris Harris, who has an extensive portfolio of performing, recording and experimenting with a wide selection of instruments, and is also very active in the jazz circuit as a professional pianist and musician. Lastly, Andy McFarlane, whose instrument is the violin, on which he extensively performs throughout the jazz and improvised circuit.

SLAM CD 269 The Number The Making of Quiet Things
The Number is Gary Curson, alto sax; Keith Tippett, piano; John Edwards, bass; Mark Sanders, drums. The recording arose from a proposal to Gary Curson by producer Justin Paterson, of the London College of Music, who expressed a desire to work with improvising musicians. The album ‘The Making of Quiet Things’ by the Number is the realisation of the first phase of Justin’s concept, namely, the mix down of the ‘ambient recording’ of the actual real-time performances. The second phase, now in progress, is for Justin to fashion a companion ‘electronic’ album, by devising completely new compositions derived from samples from the same recorded material. Justin is currently designing new software specifically to enable this process. This opportunity for Gary to involve some of the finest improvising musicians with whom he has worked in the past, together with the excellent studio facilities, has given us the original and exciting music heard on this album. “This is magnificent, incandescent, full on free Improv with a strong melodic element…” —Andy Hamilton, The Wire

SLAM CD 513 SARDINIAN TRIO: REBIS
ALESSANDRO GARAU, drums; GIANLUCA CORONA, guitar; SEBASTIANO DESSANAY, bass
"The music on this CD is the result of a long collaboration of the musicians who form this trio. The project is completely based on interpretation of music written by Alessandro Garau. The greater part of the music, excepting two compositions of pure jazz inspiration, is set up in a contrapuntal way, to create a perfect balance between the instruments. The melodic and rhythmic lines contribute therefore to create a compact and fluid music. The desire was to set up the work so to create coherence of solos and the written music, consequently every song has its own characteristic atmosphere. Additionally, the publication of this work is proposed to introduce beyond the borders of Sardinia a real and important musical scene rich of ideas found in the jazz of this island; a branch of the art often suffocated by the production of “ethnic” music emanating from the island." —Alessandro Garau.
(bar code: (5 028386 05132 9)

TP 182 austraLYSIS Electroband : SONIC STONES
ROGER DEAN computers, keyboards; GREG WHITE computers, sound projection
"Sonic Stones" represents two aspects of austraLYSIS innovative work in computer mediated sound. One piece, Piano Stones, is an elaborate completed composed work, made entirely in the digital domain, though using and transforming natural stone sounds, and pre-recorded piano played by Dean. The work transits from the sound of the piano almost continuously to the sound of stones, and has strong references to the work of influential jazz pianist Bill Evans. The other piece Memeing ex Cathedra, is almost an hour long, and presents extended live computer-interactive improvisation, and was originally performed direct to air in a day-long international web cast. Multiple layers of rhythmic and textural process are superimposed, including elements from drum and bass, noise music, sampled keyboard and other diverse sounds. The whole is integrated into a large evolving structure. (bar code: 9399001001828)

The CD is the sixth on Tall Poppies by austraLYSIS, continuing their tradition of radical change and challenge: it is quite different from their previous work on the label. The performers are Director and Founder, Roger Dean, and long term collaborator Greg White, who both have extensive track records in composed and improvised music internationally. Additionally, Dean is intensively involved in research in music computation and cognition, while White is active as a music educator and as a film and media composer and sound designer.
(Bar code: 9 399001 001828)

TP 185 MERLYN QUAIFE & ANDREA KATZ: LEST WE FORGET: A MANIFEST OF STRUGGLE AND HOPE
Welcome to the world’s first “classical” protest CD. The music is wide-ranging, from Germany, France, England, Austria, Chile, USA, and Australia, covering issues as diverse as world wars, the Holocaust, dictatorships and the stolen generation. It is a no-holds-barred plea for humanity to get a grip on humanitarian values, before it is too late. This CD has been undertaken as a labour-of-love by the artists and by Tall Poppies, and the profits will be shared with the Fitzroy Learning Centre in Melbourne (an organisation gives educational and other assistance to refugees in Australia).
(Bar code: 9 399001 001859)

TP187 Nigel Westlake: Hichinbrook Riffs (Bar code: 9399001001873)

TP188 BRUCE CALE: ORCHESTRAL WORKS (Bar code: 9399001001880)

TP190 Carl Vine: Piano Music 1990-2006
Michael Kieran Harvey, piano
This is the first complete recorded collection of Carl Vine's piano music, and includes the world premiere recording of his latest work for piano, The Anne Landa Preludes (2006). Prodigiously gifted Australian pianist, Michael Kieran Harvey, has a long association with Vine, having premiered both of his sonatas as well as the Piano Concerto (1997). As well as featuring the premiere recording of the Preludes, this disc includes brand new recordings of Vine's Five Bagatelles, Red Blues and his signature keyboard work, the First Piano Sonata. The recording of the Second Piano Sonata is reproduced here from Harvey's earlier recording previously released on Chamber Music Vol. 2 (catalog number TP120). “For its incredible music and musicianship, this is most certainly a CD which I shall be ‘demonstrating’ to the piano fraternity in The Hague and beyond.” —Dominy Clements, MusicWeb International
(bar code: 9 399001 00190 2)

TERP AS 06 DJIBRIL DIABATE: Hawa
a series of sublime kora recordings from the master instrumentalist out of Bamako in Mali
(Bar code: 8 716514 001137)

TERP AS 07/08 TSEHAYTU BERAKI: Selam – The Sun Of Eritrea
double CD of original material on which she plays all the accompaniment (krar, bass krar, koboro) herself, except for a couple of tracks whereshe invited a few Dutch musicians to join her – Han Bennink (perc)/Michael Vatcher (perc) and sympathetic members of the Ex amongst them (2CD).
(Bar code: 8 717677 740048)

TERP AS 11 GETATCHEW MEKURIA w. THE EX & GUESTS: Moa Anbessa
The Ex and the King Of Ethiopian Saxophone in an absolutely compelling, rich and freewheeling set of recordings that blaze through the space of a single CD in the blink of an eye
(Bar code: 8 716514 001625)

VICTO CD 101 MY CAT IS AN ALIEN IL SUONO VENUTO DALLO SPAZIO (The Sound That Came From Space)
MAURIZIO OPALIO: cosmic guitar, mini xylophone, meteoric percussion
ROBERTO OPALIO: astral guitar, space toys, toy piano, extra terrestial electronics, harmonica, planetary percussion, voice.
Each album or performance by MY CAT IS AN ALIEN is an invitation to leave on a cosmic journey, without resorting to the numerous clichés of the space music genre. Think instead of a synth-less Ash Ra Tempel coming across the quiet improvisation current. Think of stripped-down music made of looped droning guitars, caressed percussion, toy instruments and toy microphones being used while boldly disregarding all printed warnings. Think of a cosmos glorifying its vacuous interstellar space, the silence that amplifies the smallest particles of sound. Or don’t think at all and just let yourself be swept away.